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Erica Kelly Martin’s fascination with medium-format photography can be traced back to a mirror hanging in her childhood bedroom, which echoed the aspect ratio of a medium-format frame, and which she believed had the power to lead her into a “magical world.” As a teenager, she experimented with medium-format box cameras. Her first real camera, she notes, was a Pentax Spotmatic, and later, the quintessential Pentax K1000. In those days, she says, the darkroom was also a magical place.

Today the Los Angeles-based photographer prefers to work on long-term photographic series about “the interior lives” of people. “How they manifest who they are,” she explains, “or what they would like to be.” Trying to cast off some of the more shallow Hollywood culture that she grew up with for authentic images, she makes work that delves deeper into the identities of her subjects to portray what she calls their “grace and inner light.”

“I believe all photographs are mental constructs, and reflect more about the mind and culture of the artist than about reality,” she explains. “Every picture is in a sense a self-portrait—sometimes we just use surrogates.”

Martin still dusts off her vintage medium-format film cameras on occasion for studio work, but before picking up the Pentax 645Z digital medium-format camera, shooting with a 35mm DSLR was her modus operandi. But now she wonders why she didn’t invest in a medium-format digital camera sooner. “I would like to shoot this way all the time,” she explains. “First of all, because of the optical quality—I just like the way larger format images look. The bokeh (background blur) is so luscious. Second of course is the image quality, which is so fantastic.”

While the fragility and expense of other digital medium-format cameras were too fragile for her to make the leap, the 645Z checks all the boxes. “It’s the first camera that made medium-format digital photography a possibility for me,” she says.

It’s the camera she takes along with her for activities as disparate as a wedding on a beach, a landscape shoot amongst canyons, or a portrait project in the studio. It’s also the camera she reaches for when she’s simply lounging around the pool.

She says she’s looking forward to trying out the “sturdy and weatherproofed” 645Z in more challenging conditions, like the Burning Man playa in Nevada’s Black Rock Desert—one of her favorite places to shoot. This means exposing it to harsh conditions: “windstorms blowing fine dust are a constant; as are extreme temperatures, knocking around on bicycles, climbing huge art installations, and dancing till dawn,” she says. In the past, she had to wrap her cameras in plastic, put them in waterproof cases, or tape them up to protect them. “All that got in the way of working in a fast-paced and demanding environment.”

“The main thing I look for in a camera system is that it behaves like an extension of my arm,” she continues. “It has to function on an intuitive level, and if things I want to easily accomplish are hidden deep in some menu, it interferes with my creative process.” She explains that her workflow is simplified with this camera. “The crop is right, the color rendition is spot on, and the sharpness and clarity are exceptional. I now realize how much I had to do to get 35mm images to look the way I wanted them.”

In addition, the aspect ratio of the 645Z reminds her of working with a Pentax 6×7 or a vintage 4×5 “and for some reason, I naturally see in that way,” she says. “This camera does it for me perfectly, as the native image aspect ratio is 4:3.” The 645Z also boasts a 51.4 megapixel CMOS sensor, which Martin says has the ability to bring the deepest shadows in an image “back from the dead” and a high ISO range (up to 204,800) for the ability to work in any type of lighting situation.

Because the subjects of Martin’s shoots vary—from the street to documentary projects to nature to architecture to portraiture — she needs a variety of lenses, Her glass of choice? “I presently have two of the prime lenses—the 55mm and the 90mm Macro, both of which are f/2.8. [They] are my go-to lenses for what I shoot. I am looking forward to trying out the 120mm Macro and perhaps a zoom of some sort, as well as the 75 mm ‘Pancake’ lens for street work.”

Martin says she’s feeling greatly inspired while shooting with this camera, and is even considering the transition into the moving image, knowing she now has what she calls, “a creative tool to match my imagination.”

Last night, Olympus announced the new Micro Four Thirds 16-megapixel OM-D E-M1. The new camera is the successor to the OM-D E-M5 and takes the position as the company’s flagship camera. The E-M1, slightly larger and heavier than the E-M5 (but not as hefty as the E-5 DSLR), features a new Dual Fast AF system with 37-point contrast AF and 81 point on-chip Phase Detection AF. With the new system, the E-M1 will automatically detect the lens that promises faster AF performance than the E-M5 particularly when standard Four Thirds lenses.

Continuous shooting speed has been improved as well. The E-M1 can capture up to 10fps in single autofocus mode for a maximum of 41 Raw images. In continuous AF, the continuous capture is rated at up to 6.5fps for up to 50 Raw images. In addition to providing faster continuous shooting speeds, the new TruePic VII image process also promises improved high ISO performance and better reduction of color loss.

The E-M1 also features built-in wi-fi and is compatible with Olympus’ Image Share 2.0 free iOS and Android app. Communication between smartphone and camera is initiated by scanning a QR code on the camera’s LCD with a smartphone.

Olympus also announced the development of two new Micro Four Thirds lenses, forming a new Pro category for its optics: a 12-40mm, f/2.8 zoom Pro (24-80mm 35mm equivalent) and a 40-150mm f/2.8 Pro (80-300mm 35mm equivalent).

For more information on what’s new about these products, as well as pricing, check out the full story, now on PDNOnline.com.

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